The Cultural Banner Held High in the Flames of the War of Resistance Against Japan

The cultural war of resistance led by the Communist Party of China, like the military, political, and economic aspects of the war of resistance, was an important component of the great Chinese people’s War of Resistance Against Japan. The theory of the cultural war of resistance, guided by Marxism, ran through the war-of-resistance literature and art serving the workers, peasants, and soldiers, the war-of-resistance music and fine arts that inspired the national spirit, and the war-of-resistance education that trained millions of cadres. The cultural war of resistance led by the Communist Party of China resisted the cultural aggression and cultural enslavement of China by Japanese imperialism, defended the culture of the Chinese nation, invigorated the morale of the anti-Japanese military and civilians, and consolidated the spirit of the Chinese nation, forming a glorious chapter in the history of the Chinese nation’s War of Resistance Against Japan.

中国共产党领导的文化抗战，与军事、政治、经济诸方面的抗战一样，是中国人民伟大抗日战争的重要组成部分。以马克思主义为指导的抗战文化理论，贯穿于为工农兵服务的抗战文艺、鼓舞民族精神的抗战音乐美术、培养千百万干部的抗战教育之中。中国共产党领导的文化抗战，抵御了日本帝国主义对中国的文化侵略和文化奴役，捍卫了中华民族的文化，振奋了抗日军民的士气，凝聚了中华民族的精神，构成中华民族抗日战争史的辉煌篇章。

The cultural war of resistance was a great struggle led by the Communist Party of China to defend the culture of the Chinese nation and to resist Japanese imperialist aggression from a cultural perspective.

文化抗战是中国共产党领导的捍卫中华民族文化、从文化上抵御日本帝国主义侵略的伟大斗争

The cultural war of resistance was a great struggle led by the Communist Party of China, uniting the people of the whole country, especially patriotic figures in cultural circles, to resist the cultural aggression and cultural enslavement of Japanese imperialism. While launching its war of aggression, Japanese imperialism also implemented policies of aggression and enslavement in the cultural sphere, vainly attempting to destroy China culturally and conquer the Chinese nation. Japanese imperialism used military force to destroy and occupy China’s cultural institutions and schools, burned

文化抗战是中国共产党领导全国人民特别是文化界爱国人士抵御日本帝国主义文化侵略和文化奴役的伟大斗争。日本帝国主义发动侵略战争的同时，也在文化领域实施侵略和奴役政策，妄图在文化上灭亡中国、征服中华民族。日本帝国主义用武力毁灭和强占中国的文化机关与学校，焚毁和盗窃中国文化典籍和文物，屠杀、监视爱国的文化人士和青年知识分子。此外，安排日本文化浪人或文化汉奸宣扬其奴化理论，如建立“东亚新秩序”“东亚协同体”，提倡所谓“中日亲善”“共存共荣”等。在沦陷区，他们建立实行奴化教育的统治机关和制度，修改和编印教科书，强迫学习日文日语，实施奴化教育；创办报纸杂志，宣传奴化思想；收买、欺骗、引诱、麻醉与强迫文化人士和知识分子为其服务；以多种多样的宣传鼓动方法，达到奴化中国人民、毁灭中华民族文化的目的。

In response to the Japanese imperialists’ cultural destruction and cultural enslavement of China, patriotic figures in the cultural sphere, under the leadership of the Chinese Communist Party, waged a resolute struggle and carried out a great cultural war of resistance. Through media, literature, art, education, and other forms, the cultural war of resistance used stirring news reports, moving literary works, vivid artistic images, and resistance education that enhanced national self-respect to boost the morale of the military and civilian resistance forces. Taking resistance art as an example, during the war period woodcuts, prints, and cartoons became powerful weapons for propagating the resistance. In Yan’an, “some say Yan’an city is decorated with slogans and pictures — this is true. In a city not very large, on every street and alley, on walls, on doors, on piles of earth, and even on trees, they were pasted everywhere.” “In every corner of Yan’an city, there was no place where resistance propaganda posters and woodcuts could not be found.” These inspiring works of art lifted the people’s anti-Japanese morale and strengthened their determination to resist.

针对日本帝国主义对中国的文化摧残和文化奴役，文化领域的爱国之士在中国共产党的领导下展开了坚决斗争，进行伟大的文化抗战。文化抗战通过媒体、文学、艺术、教育等形式，以振奋人心的新闻报道、感人肺腑的文学作品、生动活泼的艺术形象、提高民族自尊心的抗战教育，提振了抗日军民的士气。以抗战美术为例，抗战时期木刻、版画、漫画成为宣传抗战的有力武器。在延安，“有人说延安城是标语和图画装成的，这是真话，一座不十分大的城里，无论大街小巷、墙壁上、门板上、土堆上，甚至一棵树上都贴满了”，“在延安城的每一个角落，也没有一处找不到抗战宣传画和木刻的痕迹”。这些鼓舞人心的美术作品，提振了民众的抗日士气，坚定了人民的抗战决心。

The cultural war of resistance led by the Chinese Communist Party was in fact a cultural defensive war of the Chinese nation — a defensive war to resist Japanese imperialist aggression culturally, to promote Chinese national culture, and to ensure the continuation and development of the bloodline of Chinese culture. The resistance culture formed by the cultural war of resistance was a cultural form representing the forward direction of modern Chinese cultural development. Since the Opium War, the development of Chinese culture has been demarcated by the May Fourth Movement [1]1 The original Chinese term is 马克思主义中国化 (Marxism Sinicization or adapting Marxism to the Chinese context). The full official formulation used in the text is 马克思主义中国化时代化, rendered in the glossary as “adapting Marxism to the Chinese context and the needs of the times.” Here the shorter form appears, and the translation follows the glossary’s first part.: before the May Fourth Movement it was the new culture of the bourgeoisie; after the May Fourth Movement it was the new culture of the proletariat led by the Chinese Communists, namely, the new-democratic culture. Japanese imperialism attempted to obstruct this new development of Chinese culture. The Chinese Communist Party’s cultural war of resistance was a new stage in defending and continuing the development of modern culture. The cultural development of this stage, as Comrade Mao Zedong said, “is of a new-democratic character and is part of the world proletarian socialist cultural revolution.” “The content of China’s new national culture is neither bourgeois cultural dictatorship nor pure proletarian socialism, but rather a new democracy led by proletarian socialist cultural thought and serving the broad masses of the people in opposing imperialism and feudalism.” “Because the new-democratic politics, economy, and culture are all led by the proletariat, they all contain socialist factors, and these are not ordinary factors but decisive ones.” Therefore, the nature of China’s new culture since the May Fourth Movement determined that the cultural war of resistance had to be led by the Chinese Communist Party.

中国共产党领导的文化抗战，实际上是中华民族的文化保卫战，是从文化上抵御日本帝国主义侵略、弘扬中华民族文化、使中华文化血脉得以赓续和发展的保卫战。文化抗战所形成的抗战文化是代表中国近代文化前进方向的文化形态。鸦片战争以来，中国文化的发展以“五四运动”为界标，五四运动前是资产阶级的新文化，五四运动后是中国共产党人领导的无产阶级新文化，即新民主主义文化。日本帝国主义试图阻止中国文化的新发展。中国共产党的文化抗战是保卫和延续近代文化发展的新阶段。这个阶段的文化发展，正如毛泽东同志所说，“是新民主主义性质的文化，属于世界无产阶级的社会主义的文化革命的一部分”，“中国新的国民文化的内容，既不是资产阶级的文化专制主义，又不是单纯的无产阶级的社会主义，而是以无产阶级社会主义文化思想为领导的人民大众反帝反封建的新民主主义”。“新民主主义的政治、经济、文化，由于其都是无产阶级领导的缘故，就都具有社会主义的因素，并且不是普通的因素，而是起决定作用的因素。”因此，五四运动以来中国新文化的性质，决定了文化抗战必须由中国共产党领导。

During the war of resistance, Chinese Communists, with a high degree of cultural confidence, assumed the leadership responsibility for the cultural war of resistance, held high the banner of the cultural united front, and created a “new culture of the Chinese nation.” The resistance cultural forms created during this period — resistance literature, resistance music, resistance drama, resistance film, resistance poetry, and others — constituted a splendid chapter in the development of Chinese culture during the war, completely shattered the Japanese imperialists’ delusion of destroying Chinese national culture, merged into the bloodline of Chinese culture, and became an important component of the excellent culture of the Chinese nation.

抗战时期，中国共产党人以高度的文化自信，担当文化抗战的领导责任，高举文化统一战线旗帜，创造“中华民族的新文化”。这一时期创造的抗战文学、抗战音乐、抗战戏剧、抗战电影、抗战诗歌等抗战文化形态，构成抗战时期中国文化发展的绚丽篇章，彻底粉碎了日本帝国主义灭亡中华民族文化的痴心妄想，融入中华文化的血脉，成为中华民族优秀文化的重要组成部分。

The Chinese Communist Party Was the Mainstay of the Cultural War of Resistance

中国共产党是文化抗战的中流砥柱

The Chinese Communist Party, in the field of the cultural war of resistance, just as in the fields of military, political, economic, and foreign relations during the resistance, played the role of mainstay. In all aspects of the cultural sphere, the Chinese Communist Party led the anti-Japanese forces in literature, art, education, journalism, publishing, science, and other fields, persisting in struggle, unyielding, and achieving final victory.

中国共产党在文化抗战领域，与其在军事、政治、经济、对外交往等抗战领域一样，发挥了中流砥柱的作用。在文化领域的各个方面，中国共产党领导文学、艺术、教育、新闻、出版、科学等领域的抗日力量，坚持斗争、不屈不挠，取得了最后胜利。

The Chinese Communist Party established a broad cultural united front, with Party cultural workers as the main body, uniting patriotic cultural figures in the resistance to carry out the cultural war of resistance. In October 1936, under the leadership of the Chinese Communist Party, 21 representatives of the literary and art circles, including Lu Xun, Guo Moruo, and Mao Dun, jointly signed and issued the “Declaration of Literary and Art Circles for United Resistance to Aggression and Freedom of Speech,” which “advocated that all members of the national literary circles, regardless of old or new factions, should unite for the cause of resisting Japan and saving the nation,” thereby uniting the literary and art circles under the banner of resisting Japan and saving the nation. In the revolutionary base areas, in November 1936, cultural workers and literary and art enthusiasts in the base areas, under the leadership of the Party and the Soviet government, initiated and established the “Chinese Literary and Art Association.” The association was organized to jointly promote new literary and artistic work under the goal of the anti-Japanese national united front and to form a new fighting force within the united front. On November 24, 1937, the Shanxi-Gansu-Ningxia Border Region established the Shanxi-Gansu-Ningxia Border Region Cultural Circles National Salvation Association, forming a cultural united front in the border region led by the Chinese Communist Party. On March 27, 1938, under the leadership of the Chinese Communist Party, the All-China Literary and Art Circles Resistance Association was established in Wuhan, marking the formation of the broadest united front among Chinese cultural circles during the War of Resistance Against Japan.

中国共产党建立了广泛的文化统一战线，以党的文化工作者为主体，团结抗日爱国文化界人士进行文化领域的抗战。1936年10月，在中国共产党的领导下，鲁迅、郭沫若、茅盾等文艺界代表共21人联合签名发表《文艺界同人为团结御侮与言论自由宣言》，“主张全国文学界同人应不分新旧派别，为抗日救国而联合”，使文艺界在抗日救亡的旗帜下联合起来。在革命根据地，1936年11月，根据地文化工作者和文艺爱好者在党和苏维埃政府的领导下，发起并成立“中国文艺协会”。组织协会是为了在抗日民族统一战线目标下，共同推动新的文艺工作，结成统一战线中新的战斗力量。1937年11月24日，陕甘宁边区成立了陕甘宁边区文化界救亡协会，在中国共产党领导的边区形成了文化统一战线。1938年3月27日，在中国共产党领导下，中华全国文艺界抗敌协会在武汉成立，标志着抗日战争时期中国文化界结成了最广泛的统一战线。

Cultural resistance groups were the organizational form of the cultural united front led by the Chinese Communist Party. By establishing cultural resistance groups, the Chinese Communist Party united patriotic and progressive figures in the cultural circles and led the national cultural war of resistance. The number of cultural resistance groups led or influenced by the Chinese Communist Party was very large. The Northwest Battlefield Service Corps of the Eighteenth Group Army [2]2 The Eighteenth Group Army was the official designation of the Communist-led Eighth Route Army within the National Revolutionary Army during the Second United Front against Japan., the Shanxi-Gansu-Ningxia Border Region Cultural Circles National Salvation Association, the Shanxi-Gansu-Ningxia Border Region Music Circles National Salvation Association, the Shanxi-Gansu-Ningxia Border Region Literary and Art Circles Resistance Federation, the Guilin Branch of the All-China Literary and Art Circles Resistance Association, the Chengdu City Cultural Circles National Salvation Association, the Xi’an Cultural Circles Association, the Northwest People’s Resistance Drama Society, and others were distributed in the anti-Japanese base areas, the Kuomintang-controlled areas, and even among overseas Chinese communities, becoming the core that organized and led the resistance in the fields of drama, film, literary and artistic creation, education, science, and mass culture.

文化抗战团体是中国共产党领导的文化统一战线的组织形式。通过建立文化抗战团体，中国共产党团结文化界爱国进步人士，领导全国的文化抗战。中国共产党领导或影响的文化抗战团体数量众多。第十八集团军西北战地服务团、陕甘宁边区文化界救亡协会、陕甘宁边区音乐界救亡协会、陕甘宁边区文艺界抗战联合会、中华全国文艺界抗敌协会桂林分会、成都市文化界救亡协会、西安文化界协会、西北民众抗战剧社等，分布在抗日根据地、国统区乃至海外华人社会，成为组织领导戏剧、电影、文艺创作、教育、科学以及群众文化各领域抗战的核心。

Work in public opinion and propaganda is an important component of the construction of Marxist ideology. In the cultural war of resistance, public opinion and propaganda were powerful weapons for defeating the Japanese aggressors. The resistance activities of the press and publishing circles led by the Communist Party of China became powerful weapons for propagating the war of resistance, uniting the people, and striking at the enemy. Under the leadership of the Party, the various base areas actively established all kinds of resistance newspapers and periodicals, inspiring and mobilizing the masses to join the war of resistance, publicizing the deeds of the armed forces under the Party’s leadership in their struggle, and publicizing the achievements of construction in the resistance base areas. In the Kuomintang-controlled areas, the Communist Party of China united progressive forces in the press and public opinion circles, established progressive newspapers, periodicals, and publishing institutions, and through various means propagated the Communist Party of China’s resistance propositions, disseminated the deeds of the resistance struggle of the resistance base areas, the Eighth Route Army, and the New Fourth Army, thereby leading the situation of public opinion in the Kuomintang-controlled areas.

舆论宣传工作是马克思主义意识形态建设的重要组成部分。在文化抗战中，舆论宣传是战胜日寇的有力武器。中国共产党领导的新闻出版界的抗战活动，成为宣传抗战、团结人民、打击敌人的有力武器。各根据地在党的领导下，积极创办各种抗日报刊，鼓舞和动员人民群众投身抗日，宣传党领导下抗日武装的斗争事迹，宣传抗日根据地的建设成就。在国统区，中国共产党团结新闻舆论界的进步力量，创办进步报刊、出版机构等，通过各种方式宣传中国共产党的抗日主张，传播抗日根据地和八路军、新四军抗日斗争事迹，引领了国统区的舆论形势。

Resistance literature and art was the main battlefield of the cultural war of resistance. The Communist Party of China established a literary and artistic theory for the war of resistance, formulated a series of literary and artistic guidelines and policies, and guided literary and artistic workers to continuously advance in the direction of China’s advanced culture. Under the guidance of the Party’s literary and artistic policy for the war of resistance, the literature and art of the resistance base areas achieved fruitful results, with a large number of outstanding writers emerging and creating a great many excellent literary and artistic works, such as *The East Is Red*, *Ten Embroideries of the Gold Plaque*, *Our Leader Mao Zedong*, *Yellow River Cantata*, and *Production Cantata*. In the Kuomintang-controlled areas, the Communist Party of China united progressive figures to create a large number of works praising patriotism and reflecting the life of the resistance, among which Guo Moruo’s historical plays *The Flower of Tangdi* and *Qu Yuan* were particularly far-reaching in influence. Resistance music works were also abundant, such as *On the Songhua River*, *March of the Volunteers*, *On the Taihang Mountains*, *Nanniwan*, *Put Down Your Whip*, and *The White-Haired Girl*. Chinese music steadily advanced on a new path of national music with Chinese style and Chinese manner.

抗战文艺是文化抗战的主战场。中国共产党确立了抗战的文艺理论，制定了一系列文艺方针和政策，引领文艺工作者向着中国先进文化的发展方向不断前进。在党的抗战文艺方针指引下，抗日根据地文艺取得了丰硕成果，涌现出一大批优秀作家，创作出《东方红》《十绣金匾》《咱们的领袖毛泽东》《黄河大合唱》《生产大合唱》等一大批优秀文艺作品。在国统区，中国共产党团结进步人士，创作了大量歌颂爱国主义、反映抗战生活的作品，尤以郭沫若的历史剧《棠棣之花》《屈原》等影响深远。抗战音乐作品更是硕果累累，如《松花江上》《义勇军进行曲》《在太行山上》《南泥湾》《放下你的鞭子》《白毛女》等，中国音乐扎实地走在具有中国气派、中国作风的民族音乐新道路上。

Under the leadership of the Communist Party of China, scientific and technological workers in the various base areas united as one, conducting scientific research and the popularization and promotion of science and technology under arduous conditions, powerfully supporting the resistance struggle in the base areas, and also accumulating experience for the scientific and technological work of New China. In the field of philosophy and social sciences, the greatest contribution of resistance scholarship was to promote the development of Marxist philosophy and social sciences in China. The development of adapting Marxism to the Chinese context [1]1 The original Chinese term is 马克思主义中国化 (Marxism Sinicization or adapting Marxism to the Chinese context). The full official formulation used in the text is 马克思主义中国化时代化, rendered in the glossary as “adapting Marxism to the Chinese context and the needs of the times.” Here the shorter form appears, and the translation follows the glossary’s first part. led philosophers and social scientists to consciously apply Marxist theories and viewpoints to the study of philosophy, history, literature, and social fields, thereby giving rise to and forming the various disciplines of Chinese Marxist philosophy and social sciences. Comrade Mao Zedong’s *On Contradiction* and *On Practice*, Li Da’s *Principles of Sociology*, and other works laid the foundation for Chinese Marxist philosophy; Guo Moruo, Fan Wenlan, Jian Bozan, Lü Zhenyu, Hou Wailu, and others pioneered Chinese Marxist historiography; Wang Yanan, Xu Dixin, Xue Muqiao, and others made outstanding contributions to the creation of Chinese Marxist political economy; Zhou Yang and others pioneered the formation and development of Chinese Marxist literary theory. Therefore, the cultural war of resistance propelled the process of adapting Marxism to the Chinese context and promoted the construction of Chinese Marxist philosophy and social sciences.

在中国共产党的领导下，各根据地的科技工作者团结一致，在艰苦的条件下进行科研和科技普及、推广工作，有力支持了根据地的抗战斗争，也为新中国的科技工作积累了经验。在哲学社会科学领域，抗战学术的最大贡献是推动中国马克思主义哲学社会科学发展。马克思主义中国化的发展，引领哲学社会科学工作者自觉运用马克思主义理论与观点研究哲学、历史、文学以及社会领域，从而产生和形成了中国马克思主义哲学与社会科学各学科。毛泽东同志的《矛盾论》《实践论》、李达的《社会学原理》等著作为中国马克思主义哲学奠定了基础；郭沫若、范文澜、翦伯赞、吕振羽、侯外庐等开创了中国马克思主义史学；王亚南、许涤新、薛暮桥等则为中国马克思主义政治经济学的创建作出了杰出贡献；周扬等人为中国马克思主义文艺学的形成与发展开创了先河。因此，文化抗战推动了马克思主义中国化进程，促进了中国马克思主义哲学社会科学建设。

In the field of resistance education, the Communist Party of China established the educational policy of “education serving the long-term war of resistance” and set up a wartime education system adapted to the war of resistance. It implemented a wartime education policy that prioritized cadre education and placed national education second, emphasizing that “the focus should be on raising and popularizing the anti-Japanese knowledge, skills, and national self-respect of the masses.” In the practice of resistance education, the Party established cadre training schools and their branches in the resistance base areas, such as the Chinese People’s Anti-Japanese Military and Political University, the Northern Shaanxi Public School, the Lu Xun Academy of Literature and Art, the Chinese Women’s University, and the Yan’an Academy of Natural Sciences. At the same time, it restored and rebuilt school education at various levels in the base areas, carried out social education through multiple methods, trained many outstanding military and political talents, and generally raised the national consciousness of the people in the base areas.

在抗战教育方面，中国共产党确立了“教育为长期战争服务”的教育方针，建立了适应抗战的战时教育体制。实行干部教育第一、国民教育第二的战时教育政策，强调“应以提高和普及人民大众的抗日的知识技能和民族自尊心为中心”。在抗战教育实践中，党在抗日根据地创办了中国人民抗日军政大学、陕北公学、鲁迅艺术文学院、中国女子大学、延安自然科学院等干部培训学校及分校。同时，恢复与重建各根据地不同层次的学校教育，以多种方式开展社会教育，培养了许多优秀的军政人才，普遍提高了根据地人民的民族意识。

The practice of the cultural war of resistance proves that the Chinese Communists are representatives who inherit and promote the excellent culture of the Chinese nation and are the mainstay of the cultural war of resistance.

文化抗战的实践证明，中国共产党人是传承发扬中华民族优秀文化的代表，是文化抗战的中流砥柱。

The cultural war of resistance condensed the national spirit and led the new development of national culture.

文化抗战凝聚了民族精神，引领了民族文化的新发展

The cultural war of resistance led by the Communist Party of China promoted the spirit of the War of Resistance. In the grand process of the War of Resistance against Japan, the Chinese people nurtured the great spirit of the War of Resistance, showing the world a patriotic sentiment of “everyone is responsible for the rise and fall of the nation,” a national integrity of facing death unflinchingly and preferring death to surrender, a heroic spirit of defying brute force and fighting to the bitter end, and an indomitable and unyielding belief in victory. The great spirit of the War of Resistance is a precious spiritual treasure of the Chinese people and will forever inspire the Chinese people to overcome all difficulties and obstacles and strive for the great rejuvenation of the Chinese nation.

中国共产党领导的文化抗战弘扬了抗战精神。中国人民在抗日战争的壮阔进程中孕育出伟大抗战精神，向世界展示了天下兴亡、匹夫有责的爱国情怀，视死如归、宁死不屈的民族气节，不畏强暴、血战到底的英雄气概，百折不挠、坚忍不拔的必胜信念。伟大抗战精神，是中国人民弥足珍贵的精神财富，将永远激励中国人民克服一切艰难险阻、为实现中华民族伟大复兴而奋斗。

In the cultural war of resistance, the Communist Party of China always adhered to and led the correct direction of resistance culture. It always insisted on resisting the cultural aggression and cultural enslavement of Japanese imperialism. In the stages of strategic defense, strategic stalemate, and strategic counteroffensive, the Communist Party of China never compromised, exposed the essence of Japanese imperialist cultural aggression, firmly defended national culture, and made tremendous efforts for the inheritance and development of China’s excellent traditional culture. It always struggled against the “autocratic culture” and cultural dictatorship of the diehard Kuomintang faction. Against actions such as restricting resistance speech and banning progressive publications, the Communist Party of China, on the basis of maintaining the Anti-Japanese National United Front, adopted the principles of being justified, advantageous, and restrained, resolutely resisting and opposing them, and upholding the progressive direction of the cultural war of resistance. It always severely criticized the cultural phenomena and trends of feudal restorationism, capitulation, and compromise, ensuring the bright future of the cultural war of resistance. It always insisted on the study and propagation of Marxism, advancing the adaptation of Marxism to the Chinese context, making Sinicized Marxism a powerful driving force for the development of resistance culture.

在文化抗战中，中国共产党始终坚持和引领抗战文化的正确方向。始终坚持抵抗日本帝国主义的文化侵略和文化奴役，在战略防御阶段、战略相持阶段、战略反攻阶段，中国共产党始终毫不妥协，揭露日本帝国主义文化侵略的本质，坚定捍卫民族文化，为中华优秀传统文化的传承和发展付出了巨大努力；始终与国民党顽固派的“专制文化”和文化独裁作斗争，对限制抗战言论、封杀进步刊物等行为，中国共产党在维护抗日民族统一战线的基础上，采取有理、有利、有节的原则，坚决给予抵制和反对，坚持文化抗战的进步方向；始终对封建复古和妥协投降的文化现象和文化思潮进行严厉批判，保证了文化抗战的光明前途；始终坚持对马克思主义的学习和宣传，推进马克思主义中国化，使中国化的马克思主义成为推动抗战文化发展的强大动力。

The cultural war of resistance led by the Communist Party of China, with its breadth and depth, promoted the resistance in the cultural field and also advanced the modern development of Chinese culture. After the Opium War, Chinese culture was influenced by Western learning and underwent profound changes, giving rise to a new bourgeois culture in China. Due to the special nature of China’s semi-colonial and semi-feudal society, this new bourgeois culture was not mature and could not resist the erosion of the remnants of feudal culture and Western imperialist culture. After the May Fourth Movement, Marxism was introduced into China. Chinese culture during the War of Resistance was precisely in an important period of transformation since the May Fourth New Culture Movement. In the process of leading the cultural war of resistance, the Communist Party of China explored the path of Chinese cultural development, proposed a theory of New Democratic culture guided by Marxism, created rich cultural achievements, changed the face of Chinese culture, led Chinese culture in its transformation from bourgeois culture to New Democratic culture, and provided conditions for the development of proletarian culture in China. Therefore, the cultural war of resistance led by the Communist Party of China constituted a new stage in the development of Chinese culture.

中国共产党领导的文化抗战以其广度和深度，推动了文化领域的抗战，也推动了中国文化的现代发展。鸦片战争以后，中国文化受到西学的影响，也发生了深刻变化，形成了中国资产阶级新文化。由于中国半殖民地半封建社会的特殊性质，中国资产阶级新文化并不成熟，不能够抵御封建文化残余和西方帝国主义文化的侵蚀。五四运动以后，马克思主义传入中国，抗战时期的中国文化，正处于五四新文化运动以来的重要转型时期。中国共产党在领导文化抗战的过程中，探索了中国文化发展的路径，提出了以马克思主义为指导的新民主主义文化理论，创造了丰富的文化成果，改变了中国文化的面貌，引领中国文化实现了从资产阶级文化到新民主主义文化的转变，为无产阶级文化在中国的发展提供了条件。因此，中国共产党领导的文化抗战构成了中国文化发展的新阶段。

The cultural war of resistance led by the Communist Party of China is a great miracle created by the Communist Party of China in modern and contemporary Chinese history. “Culture is the soul of a country and a nation.” During the War of Resistance against Japan, the Chinese nation was at the most critical moment of survival, and Chinese national culture faced a severe test of survival or decline. At this critical moment, the Chinese Communists shouldered the responsibility of saving the national crisis and defending the bloodline of national culture, unhesitatingly took on the heavy responsibility of leading the great struggle to defend national culture, achieved victory in the cultural war of resistance, and enabled Chinese national culture to be continued and promoted. The cultural war of resistance led by the Communist Party of China will forever be engraved on the monument of Chinese cultural history.

中国共产党领导的文化抗战，是中国共产党在中国近现代史上创造的伟大奇迹。“文化是一个国家、一个民族的灵魂。”抗日战争时期，中华民族处于生死存亡的最危急时刻，中华民族文化面临着存亡兴衰的严峻考验。在这危急时刻，中国共产党人担当起挽救民族危机、捍卫民族文化血脉的责任，义无反顾地担负起领导保卫民族文化伟大斗争的重任，取得了文化抗战的胜利，使中华民族文化得以赓续和弘扬。中国共产党领导的文化抗战将永远镌刻在中华民族文化史的丰碑上。

(Author: Wang Jiping, principal investigator of the National Social Science Fund project “Research on the Collation of Important Documents on the Literature and Art of the War of Resistance Led by the Communist Party of China,” selected for the 2022 *National Philosophy and Social Science Achievements Library*, Professor at Xiangtan University)

（作者：王继平，系国家社科基金项目“中国共产党领导抗战文艺重要文献整理研究”负责人、2022年度《国家哲学社会科学成果文库》入选者、湘潭大学教授）

Online Editor: Tongxin

网络编辑：同心